中华人民共和国建立初期,上海的评弹艺人为了适应时代需求,积极编唱新书,希望以此获得新政权的认同。但编创新书远非一朝一夕之功,编制成本也非一般艺人所能承受。在权衡之后,艺人们开始采用一种新旧杂糅的折中方法——说新,但不弃旧。然而面对日变的时势,这一做法最终演变成了完全抛弃旧书、只说新书的“斩尾巴”运动。在部分艺人的努力下,上海市人民评弹工作团最终建立,实现了部分艺人变单干形式为国营体制的愿望。本文拟对以评弹艺人为代表的群体的共同心理特征进行考察,梳理部分艺人组建上海人民评弹工作团的心路历程,以对社会转型期艺人群体与政府之间的互动关系进行重新考量。 In the early days of the People’s Republic of China, in Shanghai, appraising artists actively complied with new books in order to meet the needs of the times and hoped to gain the approval of the new regime. However, creating a new book is far from overnight success, the preparation costs are not generally artists can afford. After the trade-off, artists began to adopt a compromise between old and new - say new but not old. However, in the face of the changing times, this practice eventually evolved into a “beggar” movement that totally abandoned the old books and only said the new books. With the efforts of some artists, the Shanghai Municipal People’s Pingtan Mission was finally established and the desire of some artists to change their form to the state-owned system was realized. This article intends to examine the common psychological traits of groups represented by Pingtan artists and to trace the mentality of some artists forming Shanghai People Pingtan mission in order to reconsider the interactive relationship between the artist groups and the government during the social transition.